Since its establishment in 1975, the Institute of Modern Art (IMA) has been a leading venue for the production, presentation and circulation of contemporary art in Queensland. As one of the country’s first non-collecting public galleries, the IMA has played an integral role in developing contemporary art locally, nationally, and internationally for nearly 40 years.
The IMA has museum-grade, climate-controlled gallery spaces in which we present an ambitious program of exhibitions, concentrating on commissioning new works by Australian and international artists at pivotal points in their practices, and sharing underrepresented artists with wider audiences. The IMA has a longstanding commitment to research and a rich history of publishing critical readers, exhibition catalogues, and artist monographs. We also provide an extensive program of events, targeted educational initiatives, and development opportunities for arts professionals. Please explore our exhibitions archive and browse our publications.
The IMA is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts, and from the Visual Arts Board of the Australia Council for the Arts, and through the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. IMA is a member of Contemporary Art Organisations Australia (CAOs).
The IMA’s exhibition program is fully curated, we are not able to accept unsolicited proposals.
Aileen Burns & Johan Lundh
Aileen Burns and Johan Lundh oversee all aspects of programming and organisational development. Burns and Lundh joined the IMA as Executive Directors in 2014 from their previous post as Co-Directors of the Centre for Contemporary Art (CCA), Derry, Northern Ireland. During their tenure at CCA, they produced exhibitions featuring artists such as Goldin+Senneby, Jesse Jones, Anja Kirschner and David Panos, Raqs Media Collective, Hito Steyerl, and Haegue Yang. At CCA, they organised the first Curatorial Intensive in Europe with Independent Curators International, From 'Official History' to Underrepresented Narratives. They were also part of the curatorial team for the 2013 Turner Prize as part of Derry’s City of Culture celebrations. Burns and Lundh's writing has appeared in periodicals such as Art-Agenda, Art Papers, Fillip, Journal for Curatorial Studies, Kaleidoscope, Metropolis M, Mousse, Reviews in Cultural Theory, as well as exhibition catalogues and books.
Anna Zammit serves as the IMA’s General Manager. She manages the daily running of the IMA and supports the Executive Directors in all facets of governance, fundraising, sponsorship, and corporate support. She acts as a liaison to the Board and oversees the IMA staff. She holds a Master of Creative Industries from Queensland University of Technology and worked as an independent curator before joining the IMA team in 2006. Contact: email@example.com
Membership and Development
As Membership and Development Officer, Ally Bennett oversees membership and individual support of the IMA. She also coordinates front of house, our gallery interns and volunteers, as well as the bookstore. Bennett holds a Bachelor of Arts in Fine Art and joined the IMA in 2014 after working for both the Contemporary Art Society and the Tate Modern in London. Contact: firstname.lastname@example.org
Public Programs Officer
As the IMA’s Exhibitions and Public Programs Officer, Renae Belton is responsible for coordinating artistic, discursive, and educational programs and contributes to the development and planning of the IMA’s exhibitions. Belton joined the team in 2014 and holds a Bachelor of Arts in Art History from the University of Queensland. She has worked at the Australian Centre for Contemporary Art, Melbourne, La Trobe University Art Museum, Melbourne, and for the Liverpool Biennial. Contact: email@example.com
As IMA’s Exhibitions Officer, Liam O’Brien coordinates the technical aspects of exhibition delivery. O’Brien joined IMA's team in 2014 and holds a Bachelor of Photography with Honours from Griffith University and maintains an artistic practice. He has previously worked at Griffith University Art Gallery, University of Queensland Art Museum, and Queensland Art Gallery/Gallery of Modern Art. Contact: firstname.lastname@example.org
Jewel Mackenzie is the IMA’s Bookkeeper and oversees the institution’s financial operations. Mackenzie, who joined the team in 2006, is a trained bookkeeper and a TAFE-certified fashion designer. She also has a Doctorate in Visual Art from the Queensland College of Art, Griffith University. Contact: email@example.com
Sarah D'Ardenne works on Special Projects, including the IMA’s annual cocktail party and Development. She has a professional background in marketing and events with her business, The Design Issue, and a Bachelor of Arts in Art History & Business from Baylor University, and Arts Marketing, Events & Festivals at Queensland University of Technology. D'Ardenne joined the IMA team in 2014 after working in Rome and studying Architecture at the University of Queensland. Contact: firstname.lastname@example.org
Vivian Ziherl is Curator at If I Can’t Dance, I Don’t Want to Be Part Of Your Revolution, Amsterdam. With Natasha Ginwala, Ziherl recently developed Landings at Witte de With Center for Contemporary Art, Rotterdam, in collaboration with organisations such as Tropenmuseum and Stedelijk Museum (both Amsterdam). Ziherl is IMA’s Curatorial Fellow 2014/15 through the support of the Australia Council for the Arts, and is working towards an exhibition here in 2016.
Evie Franzidis has been editing IMA publications since 2009. She has a Master’s degree in Art Historical Studies from the University of Cape Town, South Africa, and a Master’s Degree in Writing, Editing, and Publishing from University of Queensland. As a freelance editor and writer, Franzidis works for a number of Queensland and national arts institutions.
Maria Lind, Director, Tensta Konsthall, Stockholm; Nikos Papastergiadis, Professor in the School of Culture and Communication, University of Melbourne; and Raqs Media Collective, New Delhi.
Queensland photographer Richard Stringer has documented the IMA’s exhibitions since 1975.
Graeme Auchterlonie, Michaela Bear, Katy Birkett, Annie Boman, Katherine Campbell, Ursula Cooper, Diamanta Contoleon, Claudia De Salvo, Sophia Dique, Josh Fay, Lucy Forsberg, Callum Galletly, Isabelle George, Claudia Greathead, Lucy Hancock, Victoria Lawson, Kate O'Connor, Katie Porter, Ashleigh Ralph, Jess Rampling, Emma Theyers, Angelica Roache-Wilson, and Regan Warfield.